Saturday, February 2, 2013



I’m still living each moment of “Amour” since last Saturday! Living the depth, fullness, bareness, stillness, gazes, blankness, gentleness, tenderness, coarseness, silences, silences,  silences, and Schubert's "Impromptu performed by  Alexandre Tharaud…And Emmanuelle Riva as lyrical as “Hiroshima Mon Amour” when she says “no”, “Oui” and “Jamais”… The same poetry in her eyes, lips, hair…and gracefulness in her silences between words….And I’m dying to watch the pigeon scenes over and over again…in complete silence….silence…and follow Jean-Louis Trintignant capturing the pigeon and caressing it…caressing the pigeon…
Emmanuelle Riva in Hiroshima Mon Amour

Dear Michael Haneke, you made my film and I watched it…I watched YOURS!

Excerpts of an interview with Haneke:

Q. You’ve said you drew on personal experience in making “Amour.” Were you also compelled to tackle the subject of aging because it’s something we seldom see depicted with candor and directness in movies?

A. My impression is that it’s something that is dealt with, though more as a political theme — there have been several films and TV movies about the fate of the elderly. I didn’t do this because I thought it was an important theme, although of course it is. I make my films because I’m affected by a situation, by something that makes me want to reflect on it, that lends itself to an artistic reflection. I always aim to look directly at what I’m dealing with. I think it’s a task of dramatic art to confront us with things that in the entertainment industry are usually swept under the rug.

Haneke's reaction to "violence"

Alexandre Tharaud, Beethoven: Bagatelles, Op. 126,n.2 in G minor.

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